THE BEACH BOYS LOST CONCERT COMPLETELY RESTORED WITH THE BEATLES FIRST AMERICAN CONCERT CLOSED CIRCUIT BROADCAST

THE BEACH BOYS LOST CONCERT COMPLETELY RESTORED WITH THE BEATLES FIRST AMERICAN CONCERT CLOSED CIRCUIT BROADCAST

In an Endless Summer Quarterly exclusive, Alan Boyd, director of the documentary Endless Harmony: The Beach Boys Story, provided ESQ with the news of the premiere of The Beatles First American Concert Closed Circuit Broadcast Featuring The Beach Boys and Lesley Gore.  The film also includes the original Roger Christian introduction of The Beach Boys and Gore.

DJ Roger Christian introducing The Beach Boys

The film will make its debut at 7:30pm at The American Cinematheque Egyptian Theater, 6712 Hollywood Boulevard, Hollywood, CA 90028 on February 11, 2011.


The phenomenon known as “Beatlemania” arrived on American shores from Great Britain when the Beatles landed at New York’s Kennedy airport for their first appearance on the Ed Sullivan Show, February 9th, 1964.  On February 11th, the group performed their first American concert at the Coliseum in Washington, D.C.  This historic event was videotaped for a national closed circuit theatre audience, and packaged with pre-taped live sets by the Beach Boys and Lesley Gore for a 90-minute big screen spectacular.


This historic presentation, straight from the original broadcast master two-inch quad videotapes, has been unseen in its entirety since March 1964. Host Domenic Priore (author of Riot on Sunset Strip: Rock ’n’ Roll’s Last Stand in Hollywood) will be joined by rock ’n’ roll visual archivist Ron Furmanek and Boyd in bringing this unique program back to the big screen again after 47 years, the way it was intended to be.

The performance captured at this event is the longest set that would ever be filmed of the Beatles in concert, and easily transmits far more raw energy and attitude than would be present at later Shea Stadium, Australia, Japan or Germany tapings.  John Lennon, Paul McCartney, George Harrison and Ringo Starr all seem to be on stun from the attention and thrill of taking America by storm and becoming the entertainment phenomenon of the century.  The recently-discovered master video tapes of this performance are a vast improvement over the fuzzy kinescopes that were a favorite of the underground movie house circuit during the ’70s; in those, the encore of “Twist and Shout” was cut off at the middle, and, the closing rave-up “Long Tall Sally” has not been screened anywhere since 1964.  The entire performance is presented here in stunning, first-generation picture quality.

The Beatles

The Beach Boys and Lesley Gore

The Beach Boys and Lesley Gore segments were videotaped at the NBC Television Studios in Burbank, California (the same studio that later hosted Elvis Presley’s ’68 Comeback Special, Laugh-In and the Johnny Carson shows).  The sound quality on these segments is a perfect reproduction, and showcases The Beach Boys (Brian Wilson, Dennis Wilson, Carl Wilson, Al Jardine and Mike Love) in their performance prime.

This will be the first time the ENTIRE production has been seen in full since the two days it was screened as a nationwide closed-circuit theater event (the same system more commonly used for live sporting events).  Nowhere will you be able to see The Beatles in a more riveting, rock-solid performance, with the audio and video quality clear as a bell, blasting through theater speakers on The Egyptian Theater's giant screen. Our test screenings left us bedazzled, feeling as though we had just seen The Beatles in person... it’s that good.

Hosts Domenic Priore, Ron Furmanek and Alan Boyd will be joined by special guests TBA.

Wilson Phillips — Exclusive interview with Carnie Wilson

Christmas In Harmony

Sony Masterworks

With the release of Wilson Phillips’ Christmas in Harmony CD Carnie Wilson, Wendy Wilson and Chynna Phillips have returned to their original pop form. Carnie Wilson took time out of her busy schedule to discuss the new release.

          

David Beard: What inspired this release?

Carnie Wilson: Christmas in Harmony came about when Sony Masterworks called us wanting a Christmas CD.  The three of us were actually talking about recording a Christmas CD at my home for this year anyway.  Funny it worked out like that.  It's great have a major label behind us!!  We're grateful.

DB: What are your favorite Christmas memories?

CW: My favorite Christmas memories have always been the same thing: the classic Christmas songs by The Beach Boys, The Carpenters, Nat King Cole, Frank Sinatra, Barbara Streisand and the feeling that all those songs evoke during the holidays.  I love the families getting together and opening presents and eating the amazing food!!!!!  Now, with our children in our lives... Christmas is at a WHOLE NEW LEVEL OF LOVE AND APPRECIATION!!!!!

DB: What do you hope the listener feels form this new release?

CW: I hope the listener feels great and can sing along as they listen to our renditions.  I hope they listen to it year after year and decorate a tree, cook some food, sit with loved ones and just appreciate being alive and together.  It's like a gift to them!!

DB: What is the highlight on the new Christmas album for you? 

CW: I really love every song and each one has a special meaning to me, but the highlight of our CD would have to be my Dad's [Brian Wilson] song “Our Prayer” and my husband's [Rob Bonfiglio] song “Warm Lovin' Christmastime.” [*Note: Bonfiglio performs his renditiontrack also appears on SideB Music’s new holiday compilation Rockin’ The Mistletoe.]  “Our Prayer” is bone chilling and probably the most beautiful vocal piece I have ever heard in my life.  I have listened to it since I was a little girl.  It truly takes my breath away.  Dad told me he thought it was "better than the Beach Boys". I laughed and said, “No Dad, it's  just OUR version.”  He then told me that Bach inspired him to write that. I almost wet my pants!!!! I am his daughter, but I am a fan too. He blows my mind.  Rob's song is my favorite mix on the record.  Catchy, spirited and just has a great feeling.  He's so talented.  I'm so happy we recorded it!!!

DB: Whose decision was it to record "Our Prayer" for this collection?

CW: The funny thing is I can't remember if it was Wendy's or my idea to record Our Prayer! I didn't have the faintest idea of how we were gonna tackle those parts (other than Dad doing it with us). Dad was on the road when we were in the studio  and I asked  my husband Rob to figure out the parts and help give us direction. He studied it for literally 10 minutes in his studio and put scratch vocals of the entire song. He then made a click track for the specific changing of tempos himself and guided us in the studio, giving us our parts. It was the single most challenging thing I have ever had to sing. The vocals were so intricate, and I had to sing the BASS notes. I must say I am very proud of myself. I don't know how I got that low... angels were there with me. Maybe Carl. XOXO

DB: What can fans anticipate from Wilson Phillips in 2011?

CW: Wendy, Chynna and I are committed to recording more records forever!!! We are touring as well. It's just a balancing act for us all between our 9 children!!!!! More to Come in 2011.... definitely touring dates in the USA and possibly overseas. Our next CD?  Well.... we might be starting a new album with our magnificent producer Glen Ballard in January.  We got the bug with him BIG TIME after reuniting for this Christmas CD!!!!

DB: Are there any guest vocal appearances on this collection?

CW: There are no guest vocal appearances on this CD.... just the three of us.  Maybe the next one!!!  Thank you to our fans, for always listening and buying our records. We do it for you!!!!!

The collection is also available digitally via iTunes and Amazon.com

Brian Wilson Reimagines Gershwin

By David M. Beard

There was 2004’s majestic Brian Wilson Presents SMiLE, then 2008’s colorful That Lucky Old Sun – both evocative collections in Wilson’s catalogue. Brian Wilson Reimagines Gershwin is an album that is something else altogether; in touching Gershwin’s venerable catalogue, Wilson has taken his own unique approach to composing and has actually made Gershwin his own. The result? Wilson’s career-defining best.  

In addition to his role in the band as a vocalist and multi-instrumentalist, Paul Von Mertens assisted Wilson with song selection as well as arrangements and orchestrations. When I asked Mertens about the album, he submitted, “Many of these songs are so familiar that they’ve been played beyond the point of boredom. They’ve been played into the ground and sort of lost their spark. I’ll give you one example: ‘Summertime’; almost nobody sings the melody correctly the way it was originally written. They take away some of the interesting chromaticism that’s in the melody that Gershwin wrote and turn it into a Blues song. What Brian did was – with almost all these songs – return faithfully to the original melody, which is kind of a big deal because a lot of people have been singing and playing these songs incorrectly and the casual (loungy) versions of these songs have become the norm. Hearing the songs done correctly is kind of a revelation. I know that it sounds like good music done well. It’s Brian and Gershwin done with a lot of care.”

The attention to detail in the arrangements of “Summertime,” “Our Love Is Here To Stay” and “I Loves You Porgy” (sung from the original female perspective), and the wonderfully unexpected adaptations of “’S Wonderful,” “I Got Plenty O’ Nuttin’,” “I Got Rhythm” and “They Can’t Take That Away From Me” make Brian Wilson Reimagines Gershwin a brilliant assemblage of fully realized songs that are as good as anything available in music today. When asked about his reimagining of “They Can’t Take That Away From Me” Brian said, “Well, ‘Little Deuce Coupe’ was like (begins scat singing) – I took it from ‘Little Deuce Coupe.’  I wanted it to have that ‘Little Deuce Coupe’ kind of Beach Boy feeling.”

Perhaps the most intriguing aspect of the song selection is the full realization of two previously incomplete Gershwin recordings, “The Like in I Love You” and “Nothing But Love.” The Gershwin Estate had someone take all this music that was in written form and record very basic piano performances of the songs, so Brian listened to solo piano recordings that were just realizations of the chords and melody of the fragments. Band member Scott Bennett returned to the role of lyricist (That Lucky Old Sun) on the two songs, but the two tracks came together very differently. Mertens explains, “For ‘The Like in I Love You’ I used a piano improvisation that I recorded while Brian was noodling around after soundcheck on the piano. I was kind of following him around while we were on tour with his knowledge and permission, because he liked to play piano after dinner (and before the gig) up on the stage. I said, ‘Would it be okay if I just record some of the stuff that you do, and if you have any Gershwinny [sic] ideas we’ll take ’em down?’ Brian said, ‘Okay.’ That vocal intro is something that he was playing on the piano and I transcribed it and suggested that it might make a good intro for this Gershwin song that he chose; it was in the key of E-flat. I wrote a chart for the Gershwin song with just the chord changes, the band recorded a basic rhythm track and then Brian sang a new melody for it. We tracked the parts that Brian liked and then he created a new melody for it.”

“Nothing But Love” was also from a piano rendition, but went through a different process. Mertens expains, “That was one of the songs that Brian had selected based on the solo piano version of it. Darian (Sahanaja) recorded a waltz-time version instrumental demo of that song and had Brian listen to it and we recorded it. Brian created a new melody in Darian’s waltz-time version of it and somehow it was just not making it and Brian started to feel strongly that the fact that it was a waltz was getting in the way for him. He said, ‘I don’t do waltzes… It’s not workin’.’ We had a lovely song so we decided to: 1) lower the key, and take it down a step; 2) If it’s hard to sing in three let’s just rock it. ‘Nothing But Love’ was really the only song that didn’t come to life almost instantly. It wasn’t until we did it as a rock song that suddenly everyone’s eyes lit up and we were like… ‘Okay, this is gonna work!’”

Of the 14-track album Wilson says, “If you take it one by one, each song has a different personality and a different texture and different rhythm, and different sound. And each lead, how you have to handle the lead, the way you really feel it – and the way you think George would have liked to have heard it… I squared it away until it sounded like Brian Wilson and Gershwin together.”

Brian Wilson Reimagines Gershwin brings together the sounds of The Beach Boys, George and Ira Gershwin, Jazz, R&B – all the great music that came out of Tin Pan Alley.  This collection is for the fan, but it’s also for the uninitiated. There is something for everyone to appreciate… including Brian Wilson.  For under the “Special Thanks” in the album’s liner notes Wilson wrote: To George and Ira Gershwin for creating music that inspired a young boy from Hawthorne, California to follow a dream. It's one thing to touch something. Brian has a firm grasp of his dream. 

Disney.com/PearlSeries

Brian Wilson Songwriter 1962 -1969

Brian Wilson Songwriter 1962-1969 is a documentary film in which the rich tapestry of music written and produced by this brilliant 20th century composer is investigated and reviewed. With the main feature running at over three hours in length across two discs, the songs Brian wrote for and recorded with The Beach Boys during the 1960s are here re-assessed with insightful effectiveness.

FEATURES INCLUDE -

Exclusive interviews with Bruce Johnston, David Marks, Beach Boys manager Fred Vail, producer Russ Titelman, Billy Hinsche and Danny Hutton and many others

Live and studio recordings of many Brian Wilson classics are also included.

Available November 23, 2010 — View the trailer here

Let The Good Times In

Sunshine Pop Plays While Audiences Wait For Brian 

By Jeff Bleiel

A Sampling of the Tracks Played Prior To Brian Wilson’s Concerts

Glen Campbell: Guess I’m Dumb

Eric Carmen: My Girl

Dennis Diken With Bell Sound: Standing In That Line

Dino, Desi & Billy: Through Spray Colored Glasses

Dukes of Stratosphere: Pale and Precious

Mama Cass Elliot: It’s Getting Better

Mark Eric: California Home

Eternity’s Children: Mrs. Bluebird

The Explorers Club: Forever

First Class: Beach Baby

The Flame: Another Day Like Heaven

Lesley Gore: On A Day Like Today

Henry Gross: Springtime Mama

The Group: Baby Baby It’s You

Harpers Bizarre: Malibu U

The Kinks: Australia

Gary Lewis & The Playboys: Jill

Billy Nicholls: Would You Believe

Parade: Sunshine Girl

Partridge Family: Let The Good Times In

Chris Rainbow: Dear Brian

Raspberries: Cruisin’ Music

Sagittarius: My World Fell Down

Tradewinds: New York’s A Lonely Town

Wizzard: See My Baby Jive

Roy Wood: Why Does a Pretty Girl Sing Those Sad Songs

XTC: Humble Daisy

Weird Al Yankovic: Pancreas

Yellow Balloon: Yellow Balloon

Zombies: Care of Cell 44

Attendees of Brian Wilson’s concerts over the past several years have been treated to a winning selection of the Beach Boys greatest hits, as well as masterful performances of complete works such as Pet Sounds, Smile, and That Lucky Old Sun.  But the great music actually started long before Brian and the band took the stage. 

Fans who arrived at these concerts early received a real audio treat via the music that played over the house sound system prior to the show.  It has been an enticing selection of joyful pop music influenced by Brian Wilson.  Some of the songs are courtesy of familiar Brian Wilson disciples, but much of the music is relatively obscure, even to the most devoted Beach Boy loyalists.

The tracks were selected by – and come from the impressive personal collection of – keyboardist Darian Sahanaja, who chose “songs that I’ve known over the years to be inspired by Brian’s music.”  The eclectic mix includes both massive Top 40 hits (1974’s “Beach Baby”) and tracks from albums which have probably sold less than 5,000 copies.  Some, but not all, of the songs are familiar to fans of the “sunshine pop” genre, but even collectors and pop geeks are likely to discover some eye-opening gems within this repertoire.

The Sahanaja-created mix CDs have been played prior to Brian’s shows for approximately the last five years.  Jeffrey Foskett explains that the idea actually came out of a bit of frustration with the pre-show music that had been featured on some earlier tours. “They were playing Steely Dan and stuff that had no purpose,” he says.  “And I said, ‘we’ve either got to play The Beatles or we’re got to play something else.’  We were playing Beatles songs for a while and it was pretty cool.  But then Darian said ‘Let me make a CD.’  He actually made three CDs, and they were great.”

Indeed, this collection of songs is likely to be appreciated by anyone who shares of love of Beach Boys/Brian Wilson music.

Friends and Family

The mix contains no Beach Boys tracks or Beach Boys solo efforts (or Jan & Dean songs, for that matter).  But some members of the extended Beach Boys family make an appearance.  Sahanaja calls “Guess I’m Dumb,” Glen Campbell’s 1965 single, “arguably the best Brian Wilson composition and production outside of the Beach Boys.”

“Another Day Like Heaven” comes from the Carl Wilson-produced 1970 Brother Records album by The Flame (featuring Blondie Chaplin and Ricky Fataar in their pre-Beach Boys days).

“I love that track,” Sahanaja says.  “It sounds like Abbey Road Beatles, but produced by Carl Wilson.”

Sagittarius’ 1967 nugget “My World Fell Down” features Glen Campbell, Bruce Johnston, Gary Usher and Curt Boettcher.  And an obscure non-album single by Billy Hinsche’s hitmaking teen trio Dino, Desi & Billy, “Thru Spray Colored Glasses,” is a remarkable slice on sunshine pop, co-written by David Gates.

Sunshine Poppers

Some fondly-remembered 1960s hits which are indebted to Brian Wilson’s production style include The Tradewinds’ “New York’s A Lonely Town,” which Sahanaja considers “one of the best Brian Wilson-influenced records ever made.  Similarly, The Parade’s “Sunshine Girl” and Yellow Balloon’s “Yellow Balloon” both from 1967 are still regarded as one-hit-wonder sunshine pop classics.  Sahanaja also included non-hit songs by more successful 1960s acts, such as Gary Lewis & The Playboys’ “Jill” (“one of my all time favorite West Coast pop records,” he says) and Lesley Gore’s “On A Day Like Today” (produced by Wrecking Crew saxman Steve Douglas).

Though Brian Wilson’s influence on the music of The Partridge Family may be less obvious, the made-for-TV group’s harmony-drenched obscurity “Let The Good Times In” perfectly fits within the spirit and the purpose of Sahanaja’s collection.  Memories of this song, which was featured in the TV series’ pilot episode but never released on record, lingered with Sahanaja, and when it was finally released on a Partridge compilation CD in 2005, it soon thereafter made its way into the Brian Wilson pre-show mix.  

Across The Pond

Like Cleveland, Ohio’s Eric Carmen (also represented by two tracks) England’s Roy Wood is an unquestioned Brian Wilson disciple who has recorded a wide stylistic range of music.  Sahanaja calls Wood’s “Why Does A Pretty Girl Sing Those Sad Songs” “so Beach Boys.”  Another featured track is “See My Baby Jive” – by Wood’s band Wizzard – which was a number one hit in Britain in 1972.

Two British Invasion-era bands make appearances among the track selections.  The Zombies are near and dear to Sahanaja’s heart.  “Care of Cell 44” comes from the band’s landmark Odessey & Oracle album.  When the four surviving members of The Zombies reunited in 2008 to perform the album in its entirety in London, Sahanaja was among the band’s supporting musicians, playing keyboards and contributing background vocals.

More surprising is the inclusion of a track by the generally harder-edged Kinks.  “Australia” comes from their 1969 rock opera Arthur.

“Well, they’re doing their homage to the Beach Boys there,” Sahanaja explains.  “They’re singing about Australia, which to the British is almost like an alternative summer paradise.  It was Ray Davies’ style to be a bit sarcastic and ironic.”

Cult favorites XTC are represented by two tracks (including one from their alter-ego Dukes of Stratosphere).  Another standout production is “Dear Brian” by one-time Alan Parsons Project vocalist Chris Rainbow.

Weird Science

One of the most recent tributes to Brian Wilson has been largely overlooked by fans, probably because it comes from such a highly unlikely source – Weird Al Yankovic.  “Pancreas” was featured on Yankovic’s 2006 album Straight Outta Lynwood.

“It is in no way a parody; it is a genuine tribute,” Sahanaja says.  “I think it’s genius.  It’s musically beautiful and it lyrically captures Brian in his most sincere form.  Weird Al is singing about an internal organ in the tradition of ‘Solar System’ or ‘Airplane’.”

Forever

Whether it’s the discovery of a buried album track by a popular artist such as The Kinks or Eric Carmen, the re-discovery of a not-played-anymore Top 40 hit from yesteryear (Henry Gross’ “Springtime Mama”), or exposure to brand spanking new Beach Boys/Brian Wilson-influenced works (such as 2008/2009 albums by Dennis Diken or The Explorers Club), the music mix created by Darian Sahanaja has successfully served to whet the pre-show appetite of fans who have seen Brian Wilson’s recent concert tours.  For some concert goers, this may have been a somewhat subliminal or even overlooked experience.  But whether it was appreciated “in the moment” or not, anyone who seeks nourishment from the life-affirming music exemplified by The Beach Boys should take the time to seek out and soak in these tracks.      

© 2010 Endless Summer Quarterly

All rights reserved

Al Jardine — A Postcard From California

Review by David M. Beard

Anyone can tell you that taking a road trip from Los Angeles to Big Sur on the California coastline is an experience full of majesty and beauty. The music of The Beach Boys — in its own unique way — represents that long stretch of road as much as it encompasses the sandy shores of Manhattan Beach, Venice Beach and beyond. Al Jardine's musical beginnings were in the homespun folk roots of The Kingston Trio. Like his high school band mate Brian Wilson, Al also enjoyed the doo-wop and harmony-based groups of the 1950s. The Beach Boys created a marriage of sound using The Four Freshmen, Chuck Berry, Kingston Trio, The Del Vikings… the list goes on.

After a brief stint away in 1962 (in pursuit of an education in Michigan), Jardine returned to The Beach Boys’ fold. Wilson drafted hit after hit with his boys, and Al, when his number was called, sang on the smash hit, "Help Me Rhonda!" The Beach Boys’ critically-acclaimed Holland album from 1973 featured the exotic "California Saga" suite ("Big Sur/The Beaks of Eagles/California"), which provided the listener with a walk through the eyes of a "Beach Boy environmentalist," someone who had and still has a very deep appreciation of wildlife and nature. Al's new album, A Postcard From California, is a 12-song collection that encompasses the amalgam of everything mentioned here.

Part of what creates the full Americana realization of this collection is a great array of guest stars that Jardine brought — in most cases — into the studio. The list includes David Marks (co-founding Beach Boy), Glen Campbell, David Crosby, Neil Young, Steve Miller, Gerry Beckley & Dewey Bunnell (America), actor Alec Baldwin and Flea (The Red Hot Chili Peppers). As eclectically impressive as this group is, the real highlight for Beach Boys fans is the long lost recording "Don't Fight the Sea," which Al initially recorded in the late 1970s with Carl Wilson and Bruce Johnston. As Jardine remembers it, "I could never get all the guys together. That’s why it never became a Beach Boys song. For some reason, after the initial recording with Bruce, Carl and myself it languished unfinished. I could never get Brian to perform on it until Dr. Landy gave his blessing in 1988. It languished it for another 10 years. In 1998 I added Carl on the bridge. Then ProTools came along. Thank God for ProTools. I approached Mike Love about recording a vocal (last year), and wanted to know if he wanted to put his heart and soul into it. He was totally agreeable to it. Thanks to Mike and Brian we’ve got all the fellows on a recording again, which is nice."

Whether it's the countrified title track about Al's family's migration and nomadic lifestyle, the sincere examination of the California coastline on "Looking Down the Coast," the fun and poignant lyrics of "Drivin'" ("BP, you're killin' me, man"), the Beach Boys’ Party album vibe on "Help Me Rhonda" with Steve Miller and Flea as guests (ala Dean Torrence on "Barbara Ann"), or the poetic shift of "Tidepool Interlude" as recited by Alec Baldwin, this is a song cycle that illustrates the culmination of Jardine's personal and musical life.

Yet, as wonderful as this collection feels, the standout recording for me is the pop-friendly "San Simeon," as sung by Al and Gerry Beckley with a quaint nod to "Don't Worry Baby." Matt and Adam Jardine carry the background vocals on this song — as well as throughout the album — with a fluent grace; it's Beach Boys beautiful. Makes sense considering these boys come from the gene pool.

While hard-core Beach Boys fans will be familiar with most of the material on this collection, Al brings new life and vigor to the well-known chestnuts, and completely recaptures his environmental sensibilities while providing the listener with an organic listening experience. As Jardine views it, "This album is more my Moody Blues concept album. It’s like a few years in the life of Al Jardine.”

The album is available now via iTunes download and http;//Amazon.com/ CD-R with packaging. Visit Aljardine.com for song samples and promotional videos.

Summer 2010 edition of ESQ

The Summer 2010 edition of Endless Summer Quarterly

Available now!

Contents: The Beach Boys Television & Film Part II by Ian Rusten (with additional research by David M. Beard)

Complimentary CD with music from: Brian Wilson, Mike Love, Al Jardine, David Marks, Dean Torrence, Dennis Wilson, Carl Wilson and Jan Berry

CD includes:

Brian Wilson appears on four recordings

Al Jardine appears on three recordings

Carl Wilson on three recordings

David Marks appears on three recordings

The Beach Boys restored to T.A.M.I. Show

To view The Beach Boys restored to the T.A.M.I. Show

www.shoutfactory.com/browse/312/the_tami_show.aspx

ENDLESS SUMMER QUARTERLY GIVEAWAY WINNERS

Mike & Dean — "Be True To Your Bud" promotional 45 giveaway!

From the editor.

Thanks to Gary Griffin, ESQ randomly chose some lucky subscribers to receive these instant collectibles:

Mike & Dean "Be true To Your Bud" promotional single

Mike & Dean Fall 1982 "Be True To Your School" tickets

Mike & Dean backstage pass

The winners will receive these items in the mail by the end of April.

The winners are:

Zach Bastien

Maureen Falco

Lewis Garrett

Marijn Von Hoorn

Richard McNeace

Timothy Smith

Danny Yoe

The following names were chosen to receive collectible tickets from the Mike & Dean Fall 1982 "Be True To Your School" concert series and were included with issues when they were mailed.

Christian Bremer

Anthony Gesualdi

John Gulmans

Shigeo Itaya

Ole Knudsen

French Salter

More collectibles are coming this year, so be sure to subscribe today!

ENDLESS SUMMER QUARTERLY SPRING EDITION

ENDLESS SUMMER QUARTERLY

SPRING EDITION (available now)

The Spring 2010 edition of ESQ features: the Mike & Dean period (1981-1983) - the section includes interviews with Mike Love, Dean Torrence, Gary Griffin and Jeff Foskett; interviews with documentarian Billy Hinsche and photographer Ed Roach provide added insight into the 1974 DVD on the Beach Boys; Al Jardine and Brian Wilson recording news; reviews of Jan & Dean's Carnival Of Sound, the T.A.M.I. Show, and much more!

The Beach Boys — Christmas Harmonies

THE BEACH BOYS

Christmas Harmonies
Capitol Records

By David M. Beard

For the Beach Boys completist who must have everything, this Beach Boys Christmas collection comes highly recommended, if not for any other reason than the interior packaging and the previously unearthed images of the Beach Boys with Brian dressed up as Santa Clause inside the CD booklet. Musically speaking there’s nothing new here with the exception of which the songs appear. This release compiles the very best of the two combined holiday albums that were initially packaged together in 1998 as Ultimate Christmas.
www.thebeachboys.com

20 Years Ago Still Cruisin' Stalled

THE BEACH BOYS

Still Cruisin'

Capitol Records

By David M. Beard

This hodgepodge of an album still bemuses me after 20 years, because, as good as Side 1 is, Side 2 falls flat. Most longtime Beach Boy fans simply dismiss this album, which is a mistake. If this album had been released in 1991 it would have faired much better (with the addition of "Problem Child" and "Crocodile Rock"). The inclusion of "I Get Around" (mono), "Wouldn't It Be Nice" and "California Girls" (stereo) on the tail end of side 2 watered the album down to such an extent that it's almost unlistenable. A consistency missing from this album: An individual track contribution from Bruce Johnston.

Side 1 had the group being compared by some critics to Fleetwood Mac and U2; not exactly bad company. I won't be reviewing "Wipe Out," as it is a dismissive recording.

"Still Cruisin'" (T. Melcher/M. Love): Mike Love is in prime Beach Boys Adult-Contemporary form with the album's title track; a sort of "Do It Again" for the "Kokomo" generation. Not exactly a song that I would choose to play while watching Mel Gibson's trailer get shot up on the beach in Lethal Weapon 2… But what do I know? It was the only "beach" scene in the movie, so I guess they had to squeeze it in somewhere.

"Somewhere Near Japan" (Phillips/Melcher/Love/Johnston): This song, along with the music video, features the Beach Boys at their Adult-Contemporary best. The vocal structuring is top drawer and enables each member an intertwining moment seamlessly bouncing off of one another. Great mix, and great execution, and a true group effort.

Historical notes: Co-written by the late "Papa" John Phillips, this song was purportedly written about his daughter Mackenzie during her drug addiction to heroin. The lyric, "Now she's trippin' on some Chinese junk…" was sung by Al Jardine, who upon the discovery of the lyric's meaning (post recording) stated he wouldn't have sung it if he had known what the song was about. The alternate radio edit version omitted the gong sound effect beginning.

"Island Girl" (Alan Jardine): Opening with the stellar trio blend of Brian Wilson, Carl Wilson and Al Jardine, this recording does not let up for one second, and is, for my money, Al Jardine's finest moment as a composer and writer of an original Beach Boys recording. This track also features seamless cross-vocal mixing. Carl's wonderful vamp vocal, "Every now and then I get this silly grin when I'm out in her company… " Not exactly the best lyrics, but it's still worth repeated listens.

"In My Car" (Wilson/Landy/Morgan): Primarily a recording overseen by Landy and his crew, Brian brought this song to the table to fill out the album. His vocals with younger brother Carl are excellent, but this would have been a far better recording with vocals from Al, Mike and Bruce complimenting the overall sound.

"Kokomo" (Phillips/Melcher/Love/McKenzie): Beach Boys fans of old dismiss this song without blinking, but the truth is this is a very good song. In fact, if not for "Kokomo," "Papa" John Phillips would not have enjoyed post Mama & Papas hit success. Perhaps the problem lies in the reality that this song outsold Brian's beautiful "Love & Mercy." In a perfect world Brian would have been a Beach Boy at the time, and both recordings would have had the Beach Boys name on it. Either way, the summer of 1988 was a great time for Beach Boys and Brian Wilson fans.

"Make It Big" (Melcher/House/Love): The track features some interesting breaks, and the lyrical message is nice, but that's about it. Considering Troop Beverly Hills is a children's film, the song fits… One of the nicer moments is the break where Mike Love aptly sings: "Baby you're a superstar, lookin' like you're goin' far… Do what ya' wanna. C'mon and do what you wanna… Be my little beauty queen up there on the Silver Screen, c'mon and do what you wanna… "

Here's a stronger lineup for a 14-track Still Cruisin' (combining the idea of soundtrack recordings with new material, released from 1984-1991):

SIDE 1: Soundtrack recordings

"Still Cruisin'" (T. Melcher/M. Love) — Lethal Weapon 2

"Kokomo" (Phillips/Melcher/Love/McKenzie) — Cocktail

"Chasin' The Sky" (Randy Bishop) — Up The Creek

"Make It Big" (Melcher/House/Love) — Troop Beverly Hills

"Problem Child" (Melcher) — Problem Child

"Wipe Out" (The Surfaris) — The Fat Boys (with the Beach Boys)

"Happy Endings" (Johnston/Melcher) — (with Little Richard) — The Telephone

SIDE 2: Other songs

"Crocodile Rock" (Elton John/Bernie Taupin)

"Somewhere Near Japan" (Phillips/Melcher/Love/Johnston)

"Island Girl" (Alan Jardine)

"Lady Liberty" (Alan Jardine/Ron Altbach)

"In My Car" (Wilson/Landy/Morgan)

"Rock n Roll To The Rescue" (Love/Melcher)

"California Dreamin'" (Phillips/Gilliam)

Bonus cuts:

"Kokomo" [Spanish Version]

Among the really cool releases that hasn't happened yet, outside of a few other mythically dangling projects, is a true "Beach Boys At The Movies" compilation. This is something that I've researched in detail (to the point of submitting a complete lineup to EMI in 2008). I'll write more on this in a future blog.

Taylor Mills Goes "Under The Surface"

TAYLOR MILLS

Under The Surface

AQUAPULSE RECORDS

By David M. Beard

Upon hearing Taylor Mills’ new release, Under The Surface, it is apparent that she is ready to reveal more than what we — as Brian Wilson followers — would imagine. Returning to the studio with husband Todd Sucherman and Brian Wilson lyricist Scott Bennett (who wrote all but one song), Mills sounds her edgy best when she lets her vocals soar and is less restrained is trying to complete a lyric. Her best here are the quieting “Sparks Will Fly,” the love letter-stylized “Kiss My Soul” and the vividly colorful “Living Room.” Her rich and lush vocals are among the best being recorded today.

www.taylormills.com